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Post by tarkintino on Oct 2, 2024 15:33:05 GMT -5
Overall, this is a rather average Spider-Man comic and is also by far the least entertaining of the annuals so far. I mean, in the first annual Spider-Man faces off against all his major adversaries, in annual #2 he enters the mystic realms of Dr. Strange, and in the third he is being considered for Avengers membership and fighting the Hulk. Compared to those stories, annual #4 feels uninspired and rather lightweight. It also feels rather stretched out and like the story could've been told in half the pages. So yeah, not a great Spidey comic by any means. I agree that the annual is a bit ho-hum, and almost feels like the PTB needed to fulfill the obligation of producing the annual due to Spider-Man's exploding popularity. In other words, he was the one Marvel character who would never miss a marketing opportunity (as the 1970s would illustrate). Which is ridiculous! I mean, it doesn't really bother me, but a regular human like the Kingpin should NOT be able to hold his own against Spider-Man – even if he is "all muscle". I mean, obviously the Kingpin's disintegrator cane is dangerous, and I think it's fine if the tie-pin gas gun knocks Peter out…but the scenes where the Kingpin gives Spider-Man trouble in hand-to-hand combat are nonsensical. This might be the earliest indication that Spider-Man's strength levels will tend to fluctuate in the comic depending on who he's fighting and what the story demands. As I say, Peter's fluctuating strength doesn't spoil my enjoyment of these comics at all, but it is ridiculous that the Kingpin gives Spidey any trouble at all, when you think about it. I might have already posted about this in this thread, but I believe that Lee and Romita intended for the Kingpin to have superhuman strength. Beyond being able to be a physical threat to Spidey, we'll see him accomplish other feats of strength that no ordinary human could do in upcoming ASM arcs. The one that comes to mind for me is him breaking out of jail in one issue by just bending the bars of his cell. I'd probably put Kingpin's strength level as around the same as characters like Captain America, who has been able to hold his own against Spider-Man, so I really don't think that Kingpin being a physical threat to Spider-Man is as egregious as people make it out to be. Although that being said, the lack of clarity regarding whether or not Kingpin had superhuman strength probably contributed to things we would see in 70s issues, where Spider-Man would get beaten up by the likes of non-superpowered characters like the Punisher, the Tarantula, and even ordinary thugs. A page back, that was my theory: that The Kingpin was intended to be a genetic outlier (perhaps natural, rather than the product of something like the Super Soldier formula), not just someone who is physically fit enough to battle an enhanced man. there had to be something going on with him, which fits, since we must remember The Kingpin was fully aware of Spider-Man being a super-powered person, yet he did not hesitate in engaging him in a fight, with the assumption he would defeat Spider-Man. Few ordinary men throughout Spider-Man history tried that without paying a price. The Kingpin felt he was more than up the challenge.
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Post by jtrw2024 on Oct 2, 2024 17:49:14 GMT -5
THE AMAZING SPIDER-MAN 59 “The Brand of the Brainwasher!” Credits (as they appear in the comic): Produced by Stan (The Man) Lee and Johnny (Ring-a-Ding) Romita Enchantment by: Don Heck Embellishment by: Mickey Demeo* Lettering by: Artie Simek Peter’s Wardrobe: Forbush Fashions, Inc *(Mike Esposito is credited as Mickey Demeo) Plot Synopsis: Spider-man uncovers a strange criminal scheme, and finds himself face-to-face with an old foe! Comments: The previous issue resolved the matter of Spider-man’s brief bout with amnesia, but there are still a few loose ends to tie-up. Spidey is still a fugitive, but he’s not going to let a few policemen slow him down, not when Aunt May is in the hospital. Once he arrives though, seeing Peter is all it takes to bring Aunt May back to good spirits! A trip to the police precinct clears up any other questions regarding his disappearance, and helps set things in motion for Peter’s next adventure. George Stacy, the retired police captain who is also Gwen’s father was introduced a few issues back. Spider-man met him briefly during the time his memory was gone, but if Peter recalls that encounter there’s no mention of it in this story. This issue marks Peter’s official introduction to Captain Stacy. His first few appearances established that Captain Stacy had a special fascination with Spider-man, but here we get to see just how serious he is. Captain Stacy has a comprehensive collection of every film ever taken of Spider-man. He has managed to gather even way more research material than the Avengers had that time they tried to recruit Spidey. If Peter is at all concerned about what conclusions Captain Stacy’s investigation into Spider-man might reveal, he doesn’t dwell on it. Of course, when Gwen shows up and lays a big kiss on Peter, it’s probably hard for him to think about anything else! This is definitely a significant moment for these two characters, and things will develop even further over the coming issues. A trip to the Coffee Bean reunites Peter with his roommate Harry, and whatever problems they had in previous issues, seem to have resolved themselves. The Gloom Room-a-Go-Go is a new hotspot which, with a name like that, seems like it is all set to replace the Coffee Bean or the Silver Spoon as the place to be. In reality it is a cover for a sinister criminal scheme, conceived by the mysterious “Brainwasher”. Mary Jane has gotten a gig at the Gloom Room-a-Go-Go, dancing and taking photographs of prominent citizens, unaware that this is just a ruse. The flashbulbs contain hypnotic properties, that will lure the victims into a back room where a device created by Dr. Winkler will put them fully under the Brainwasher’s control. Although there seems to be some conspiracy going on which has been keeping criminals out of jail, Peter Parker takes time away from his busy crime-fighting schedule, to attend MJ’s performance at the club, along with Harry and Gwen. Also in attendance are Captain Stacy, and other important city officials. When Captain Stacy and the other targeted officials disappear into the back room, Gwen’s concern prompts Peter to investigate. As Spider-man, he manages to disrupt the scheme, and rescue Mary Jane from danger, but the real threat comes when he learns the true identity of the Brainwasher! THE AMAZING SPIDER-MAN 60 “O, Bitter Victory!” Credits (as they appear in the comic): Peerlessly Presented by Stan (The Man) Lee and Johnny (Ring-a-Ding) Romita With an Admirable Assist by Dashing Don Heck & Mighty Mickey Demeo*, And the Ever-lovin’ Lettering of Swingin’ Sammy Rosen *(Mike Esposito is credited as Mickey Demeo) Comments: While Dr. Winkler completes the procedure which will turn Captain Stacy into an unwitting slave, Spider-man contends with the Brainwasher himself, now revealed as the Kingpin. Spider-man learned how powerful the Kingpin was only a few short months ago, and now he’s back, just as dangerous as ever. Though the Kingpin’s operation is wrecked, Spider-man suffers a severe shock which causes disorientation and weakness. Spidey escapes, but is too messed up to return to his friends. Mary Jane tries to explain to the others what happened, but Captain Stacy, under the Kingpin’s hypnotic control manages to convince everyone that there is no need for concern. Harry, Gwen and MJ leave the club with Captain Stacy, showing only mild concern over Peter’s disappearance. It’s odd how quickly Peter’s friends have just kind of gotten used to the fact that he’ll disappear without explanation. At home, Peter tries to get some sleep, but finds his dreams troubled by thoughts of the Kingpin, the potential danger faced by Captain Stacy, as well as all the other things he has to deal with. Most important though, is a sudden epiphany which jolts him into wakefulness! Unable to sleep, Peter makes his way over to Gwen’s house to check up on her father. Things go really bad though when Peter tries to push things with Captain Stacy to see how the Kingpin’s brainwashing has affected him. Gwen walks in at a most inopportune moment. Peter, attempting to defend himself from an attack, was forced to strike out at Captain Stacy, and finds himself unable to explain things to the girl he loves. Things get even more dangerous, when Captain Stacy reports Peter Parker’s meddling to his new master. I don’t always like it when Peter Parker gets too mixed up with super-villains when he’s out of costume, but sometimes it works. The Kingpin isn’t really a costumed super-villain, and his underlings are just regular guys. Actually the two guys he sends to kill Peter actually seem to have some scruples when they show some hesitation about their task. The way Kingpin doesn’t even think twice about killing anyone who might pose a threat to his plans, even a teenager, shows how ruthless he is. Luckily Peter is out checking up on Aunt May and not at his apartment when Kingpin’s goons come looking for him. Fortunately, Harry, not being the actual target, gets off lightly too Spidey’s only hope of exposing the Kingpin’s plot involves taking pictures of Captain Stacy committing a theft, and getting J. Jonah Jameson to publish the photos. This of course doesn’t go over too well when Gwen sees the morning paper, with Peter’s name right there on the front page under the incriminating photo! Boy, the creators really must enjoy putting Peter’s life through the wringer. THE AMAZING SPIDER-MAN 61 “What a Tangled Web We Weave..!” Credits (as they appear in the comic): Perspicaciously Produced and Philanthropically Presented by Stan (The Man Lee) and John (Ring-a-Ding) Romita Daringly Delineated by Dazzlin’ Don Heck Exotically Embellished by Mixed-up Mickey Demeo* Lonesomely Letters by Swingin’ Sam Rosen *(Mike Esposito is credited as Mickey Demeo) Comments: Wow! Look at that splash page! Where did Aunt May get that dress? Was it something MJ left behind at Aunt Anna’s? John Romita can’t help making all his characters look good! After the trouble he’s caused for Gwen and her Dad, Peter makes the decision to check up on them. Kingpin has sent his men to Captain Stacy's house to tie-up loose ends. Fortunately Gwen has taken her father and fled until they can figure a way to straighten things out. Spider-man takes care of the Kingpin’s hit-squad, but since they’re under the same hypnotic trance as Captain Stacy, they cannot provide any clues on where our hero should look next. I would have liked to see the Gloom Room-a-Go-go become a recurring hangout, but unfortunately, with Kingpin’s backroom operation compromised, the place has closed down. That’s even worse news for MJ, who stops by the place with Harry, to pick-up her pay-cheque. It’s not too often we see Mary Jane get serious about anything, but that expression on her face when she realizes she isn’t getting paid is all too real. As coincidence would have it, Kingpin’s resident science wiz Dr. Winkler is an employee of Harry’s father, and has his own lab at the Osborn Chemical Plant. Norman Osborn though is too busy to notice that the Kingpin has moved his brainwashing operation into his factory. Strange memories of the Green Goblin and Spider-man haunt Norman’s mind and add yet another layer of intrigue and danger to this issue’s story. Spider-man, remembering his previous encounter with Kingpin and the way he was caught off guard, prepares a way to protect himself should the villain once again employ his knockout gas. Spidey has used this gas mask before when he went up against the Master Planner’s gang way back in ASM 31. It’s a handy thing to have but I assume it’s too cumbersome to carry around all the time, or incorporate into his mask. As Kingpin’s men pick-up Captain Stacy and Gwen at the airport on their way out of town, Spider-man uncovers the clue which leads him to Osborn’s Plant. With some surprising assistance from Norman himself Spider-man manages to stop the Kingpin and rescue Gwen and her father from the dire fate that was in store for them. The Kingpin manages to escape yet again, though Dr. Winkler perishes in the battle, and the secret of his mind control device apparently dies with him. While it may not reappear for some time, the Winkler device will eventually resurface in the hands of others, and continues to pop-up from time to time in future Spidey adventures. Gwen is still upset with Peter for what she perceives as betrayal against her and Captain Stacy, but she is thankful for Spider-man for saving their lives and helping to exonerate her father. This was a good storyline that introduced some significant developments into the on-going soap-opera style life of Peter Parker. As Spider-man’s last encounter ended with the Kingpin escaping, it was inevitable that the villain would eventually return, but unsuspecting readers were given no hint as to when and where that might occur. Even in the first part of this story, the build-up to the surprise is handled pretty well. The cover teases the name “Brainwasher” and just shows Spider-man fighting some regular criminals. Even after the Kingpin reveals himself, there are all sorts of twists and turns that keep this story interesting right up until the last panel! Notes about the Reprints: These stories were reprinted in Marvel Tales 42-44, and Spider-man Comics Magazine 3 Although earlier issues of Marvel Tales featured brand new covers to go with the reprinted stories, issues 42 and 43 use re-coloured versions of the originals. Only MT 44 gets the new cover treatment, with an exciting scene drawn by John Romita. The new cover depicts a similar predicament as the one shown on the original, but from the opposite angle and the danger is now to Spidey himself, rather than his loved ones. Future issues of Marvel Tales will continue to use mostly covers reprinted from the originals, with new colouring and, in some cases, other changes. The occasional all new cover does pop-up from time to time. If an artist like John Romita is available and has the time to draw a new cover, Marvel Tales might as well take advantage of it. Unfortunately the original cover to ASM 61 does not get included as a bonus in MT 44 the way previous issues did it. Spider-man Comics Magazine 3 reprints all three parts of this story in one nice package. This means readers picking it up get the whole story at once. Unfortunately, as their previous issue ended with a reprint of ASM 56, readers are left wondering what happened in ASM 57-58 since those stories were skipped over. This comic re-uses the new cover from MT 44 as the front image (though omits the word balloons), and a re-coloured version of ASM 60 appears on the rear. The covers to ASM 59 and 61 are not included. This comic has the same style contents and preview pages as the first two issues, and also includes a Kingpin pinup (repurposing art from ASM 51), plus an advertisement for unrelated comics. Mike Esposito’s name is corrected for the credits, but only on the last story. I just noticed, the Spider-man figure from the cover of MT 44, is the same one that appeared on Spider-man Comics Magazine 1, and here it is again on issue 3. Adaptations in other media: A version of this storyline was adapted for Spidey’s original cartoon series in the 1960s. “The Big Brainwasher” was a half-episode segment which appeared during the 3rd season of Spider-man (1967). This episode featured the return of the Kingpin, and was the only time Mary Jane appeared in this series. Captain Stacy’s role in this episode is the same as in the comic, though he doesn’t look anything like he’s supposed to, and for some reason he’s Mary Jane’s uncle. Other episodes have Captain Stacy looking more like his usual self, although one episode, which heavily recycled old footage, uses both versions, even alternating between the two within the same scene. Personal anecdotes: I first read this story in Spider-man Comics Magazine 3 which I picked up as a back issue sometime around 1988-89. I wasn’t picking up this series when it was first being released, but would eventually start buying it towards the end of its run. I stumbled on to this during a visit to a comic store which I only visited a couple times. Even though I was browsing the back issue bins for Spider-man comics, I wasn’t really on the lookout for digest size comics since there didn’t really seem to be a section for them in the store. This one was just kind of on a shelf which I passed on my way to the checkout desk. I bought the Marvel Tales issues and read them just recently for this review
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Post by jtrw2024 on Oct 2, 2024 18:10:33 GMT -5
I have one of those little stickers of mine that I mentioned a while back in the thread on the outside of the poly holding my copy of Marvel Tales #184 (which reprints ASM #44). It details how I figure Amazing Spider-Man Annual #4 fits into the timeline (because I have a continuity obsession bordering on sickness)… So, my reading order to make Amazing Spider-Man Annual #4 fit into continuity goes like this… - Amazing Spider-Man #44 - p.1-13, panel 6
- Amazing Spider-Man Annual #4 - p.1-11, panel 5
- Amazing Spider-Man #44 - p.13, panel 7 - p.20
- Amazing Spider-Man #45–49
- Amazing Spider-Man Annual #4 - p.11, panel 6 - p.41
- Amazing Spider-Man #50
It doesn't quite work exactly, and you have to squint a bit, but it's really the only way to fit the events of annual #4 into the chronology, as far as I can see. I've got all sorts of lists with reading-orders for stuff in my collection which I refer to, but I'm always changing things around every time I re-read things. I'm happy if I can just get the issues into some sort of order that makes sense without getting too far off from their publication orders. I haven't yet gotten to the point of trying to fit stories between panels, but I've made a note to try following that timeline you posted above the next time I get around to re-reading these issues
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
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Post by Confessor on Oct 3, 2024 5:25:02 GMT -5
I might have already posted about this in this thread, but I believe that Lee and Romita intended for the Kingpin to have superhuman strength. Beyond being able to be a physical threat to Spidey, we'll see him accomplish other feats of strength that no ordinary human could do in upcoming ASM arcs. The one that comes to mind for me is him breaking out of jail in one issue by just bending the bars of his cell. I'd probably put Kingpin's strength level as around the same as characters like Captain America, who has been able to hold his own against Spider-Man, so I really don't think that Kingpin being a physical threat to Spider-Man is as egregious as people make it out to be. A page back, that was my theory: that The Kingpin was intended to be a genetic outlier (perhaps natural, rather than the product of something like the Super Soldier formula), not just someone who is physically fit enough to battle an enhanced man. there had to be something going on with him, which fits, since we must remember The Kingpin was fully aware of Spider-Man being a super-powered person, yet he did not hesitate in engaging him in a fight, with the assumption he would defeat Spider-Man. Few ordinary men throughout Spider-Man history tried that without paying a price. The Kingpin felt he was more than up the challenge. I think it's fine to have these kinds of fan-theories, but I've never read anything from either Stan Lee or John Romita to suggest that they ever intended the Kingpin to be super-powered. Perhaps they have said so in interviews and I've just never seen it, so a source for that would be good, if you can provide it jester. As far as Romita goes -- and let's not forget that he apparently did the lion's share of designing the Kingpin -- he's spoken several times about how he wanted him to be a large guy, like Sydney Greenstreet, but strong and made of muscle, not flabby. But as I say, I've never read Romita suggesting that he has superpowers or is some kind of genetic outlier. Like I say, this inconsistency doesn't really bother me or spoil my enjoyment of these comics, but I maintain that the Kingpin really shouldn't be any problem for Spider-Man in a hand-to-hand combat situation. He probably shouldn't be able to accomplish feats like bending prison bars either (though I'm more forgiving of that kind of stuff).
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Post by kirby101 on Oct 3, 2024 7:55:31 GMT -5
There was always that problem with Spidey villains. Why should he be hurt by a punch from Mysterio or Doc Ock's human arms? I think Spider-Man's power level was always inconsistent depending on the villain. And yes, Kingpin was always a large, strong, normal man. Stan just wanted a new Crime Lord and it was Romita who made him the large figure. He could go toe to toe with Spidey because the story needed him to go toe toe toe with Spidey. Far from the only comic where to much analysis isn't advised. (I am looking at you The Flash) .
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
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Post by Confessor on Oct 3, 2024 9:10:50 GMT -5
Some great John Romita covers there, although I've always found #55 to be a bit "meh". For that issue I actually prefer the '70s Marvel Tales reprint cover by Gil Kane, with Spidey saying, "Hear me world! From now on I work for Doctor Octopus!"... It's a bit melodramatic, sure, but I like it anyway. The original covers for ASM #54 and #56 are particularly cool though. Spider-man’s latest adventure begins with him just hanging around reading the latest edition of the Daily Bugle, right across from, well, the Daily Bugle. I’m sure he could read the paper anywhere, but the fact that he dresses up in his costume and that he does it right there, as though to purposely annoy J. Jonah Jameson, is such a great touch. That splash page, along with the ensuing panels, is a lot of fun. Gwen Stacy is there too, wearing a stylish cap, and Harry Osborn shows up as well. I love Gwen's outfit in this issue – so cute! So mod! Although Peter seemed to be on friendly terms, with Flash since the last time they appeared together, jealousy over Gwen seems to have rekindled their old rivalry. Harry Osborn also has some problems with Peter during this story due to Pete’s secretive behavior and frequent disappearances. This is an interesting development we haven’t really seen before. Throughout most of the series, Peter hasn’t really had any close friends, but now that he does, how does he explain to them why he’s never around to hang out? The fact is, moving in with Harry Osborn has massively complicated Peter's life, as far as his being able to keep his career as Spider-Man a secret is concerned. I mean, can you imagine living with somebody like Peter Parker? The scene where Peter takes 5 minutes to lock up his room as "tight as a drum" when Harry simply asks him if he wants some breakfast is an excellent illustration of what it would be like to have a roommate who is as obsessively secretive as Peter. Frankly, I don't blame Harry for getting annoyed! Still, it's all great soap opera drama, of course. This storyline actually seems to be the point where Peter and Gwen’s relationship begins to pick up. Their mutual feelings for one another really develop over the next few issues. Professor Warren invites Peter to a demonstration of a new military device, and he makes an interesting comment about Pete’s choice to bring Gwen along as a guest. The line as written by Stan Lee was probably intended as an innocent remark and nothing more, but I can certainly see Gerry Conway picking up on this considering developments for these characters which occur later during his run on this series. Absolutely! It's a compelling remark, given what we know will happen between Professor Warren and Gwen Stacy in the future. But I don't even necessarily think that Stan's dialogue for Miles Warren was meant to be innocent! In 1967, an older man – even a lecturer, no less!! – leering at a younger woman and complimenting her beauty was a much more normal occurrence and would've been regarded as way less creepy than it is today. This was the era of "girl watching" being a bona fide hobby for red-blooded males, after all! I think Professor Warren absolutely thinks that Gwen is an attractive young lady and isn't afraid to say so, which, of course, ties in nicely with later developments under Gerry Conway's pen. The demonstration that Peter, Gwen and Professor Warren are attending is for a special military device called the Nullifier. Of course, such a weapon is something no super-villain could resist. Dr. Octopus is there, hiding in plain sight with only a cape to conceal his mechanical arms. The Nullifier is such a typically '60s Marvel gizmo – I love it! Also, it's surprising that Peter didn't spot Doc Ock sitting just a few rows away from him in a relatively small presentation gathering like that – especially since his Spider-Sense was kicking off anyway! Although previous issues established a hangout called the Silver Spoon, a new hipper locale makes its debut here. The Coffee Bean is where all the popular cast members show up. Even Aunt May and Anna Watson put in an appearance. I've said this before, but I love the Coffee Bean Café. It looks like such a cool, swinging place; I'd love to go there and hang out with the gang. Aunt May first met Dr. Octopus way back in Amazing Spider-man Annual 1. Although May was technically Ock’s prisoner, his good looks and charm made an impression on her that lasts until this very day. I love, LOVE, LOVE the whole Aunt May/Doctor Octopus relationship in Spider-Man comics. I mean, it's utterly ridiculous, of course, but that doesn't stop me enjoying the hell out of it. Having Doc Ock move in with Aunt May is such a great idea. The scene in issue #54, where May and Ock are politely sipping tea together, as a shocked Peter stands there hardly believing his eyes, is just brilliant. That scene is both humorous for its sheer ridiculousness and exciting because one of Peter's "safe spaces" has been violated by an archenemy. As a reader, I just eat that sh*t up with a spoon! John Jameson’s new assignment, now that NASA has grounded him, is heading up security for the Nullifier. This is an interesting way to keep John Jameson around, as part of the cast. I think it is a little bit contrived that John Jameson would be put in charge of the security team watching over the Nullifier, but it's not an impossible stretch. He's a good character to have around though, so I'm more forgiving of Stan's somewhat shaky rationale behind it. The issue ends on a cliff-hanger, as Spider-man, having received a blast of the Nullifier’s power is affected in a most unexpected way. The Nullifier has affected the radio-active spider-blood in the web-spinner’s body, leaving him with no memory of who he really is. Fortunately Dr. Octopus is there to help fill in the blanks I normally find amnesia sub-plots really irritating because they seem hugely contrived, but for some reason Spidey having amnesia throughout the whole of issue #56 and into #57 doesn't annoy me as much as it should by rights. That's testament to Stan's writing skills, I think. Peter Parker’s friends make the usual appearances in this issue. Their concern over Peter’s mysterious disappearance, is nothing compared to the way Aunt May reacts, especially when it is reported in the newspaper that Spider-man has joined forces with Dr, Octopus. Of course Aunt May is more concerned over the way the Daily Bugle has been vilifying Ock. Oooh, the irony! I think that the public so readily accepting that Spider-Man has indeed joined forces with Doctor Octopus is very believable, give how distrustful of him J. Jonah Jameson's editorials have made folks over the years. This issue features the debut of another new character who will play an important role in Spider-man’s life. Retired police captain George Stacy, Gwen’s dad, has been brought in as a consultant to John Jameson’s security team as they work to recover the stolen Nullifier. I like Captain George Stacy a whole lot and think that he's a really interesting addition to Peter's supporting cast. He's somewhat akin to Joe Robertson, insofar as he's a strong supporter of Spider-Man, even when other authority figures suspect the Web-Slinger of criminality. Note that Captain Stacy makes reference to Gwen's feelings for Peter during their brief phone call; I'm not sure if he's intuitively guessing his daughter's feelings here or if Gwen has mentioned Peter Parker at home a lot. By the way, Romita based Captain Stacy on actor Charles Bickford, who was one of his favourite actors of all time. Romita described Bickford as being a powerful looking actor, with white hair and a growling voice… Just as the original Master Planner story featured a special compound called ISO-36 which was integral to the plot, this one introduces the similarly named Isotope-15 which is required to bring the Nullifier to its full operational capacity. Dr. Octopus sends Spider-man on a mission to steal Isotope-15 from a nearby military base. Though successful in his task, Spidey conveniently leaves behind a map, which John Jameson and his team use to locate Dr. Octopus’ HQ. Why would Doc Ock's map show the route from his hideout to the military installation where Isotope-15 is being kept? Surely, the more relevant information that Spider-Man or one of Ock's henchmen would need to know would be found in a schematic map of the base itself, rather than a road map of how to get there! I know it's only comics and sometimes you have to not ask questions like this, but for some reason the discarded map leading back to Ock's hideout really bugs me. While J. Jonah Jameson, rants about not having any photos to go with his newspaper headlines about Spider-man and Dr. Octopus, his son John is busy organizing an attack on the enemy stronghold. Ock and Spidey are fighting it out, and John uses the Nullifier to neutralize the villain’s mechanical tentacles. Spider-man’s memory is still a blank, and though John Jameson is not aware of this, he knows there’s more to the web-swinger’s involvement, ultimately allowing him to escape unhindered. I think it's fitting that Doc Ock is eventually defeated by the Nullifier that he was attempting to steal. With Dr. Octopus back to his old schemes, with his gang of henchmen at his side, and Aunt May’s life in danger, this really feels like a sequel to ASM 31-33. A good bet that was what Lee/Romita and company had in mind when they came up with this story. Hmmmm...that's a very good theory. I'd never thought of it in that way before, but I think there is every possibility you are right. To sum up, this is another fantastic story arc from Lee and Romita. John's artwork is as gorgeously detailed as ever, and he and Stan weave an ambitiously complex tapestry of plots and sub-plots throughout these four issues. Is this the longest multi-part story arc we've had in the series so far? I think it is. It's great to see the return of Doctor Octopus, since he's arguably Spidey’s greatest foe at this point (only the Green Goblin could also lay claim to that at this point). Interestingly, it's John Jameson and the U.S. army that finally apprehend Dr. Octopus, not Spider-Man, who is suffering from amnesia and struggling with the notion that he's Ock's partner in crime. There are some enjoyable soap opera moments in this arc, with Flash Thompson once again getting jealous of Peter over Gwen, before eventually going back to Vietnam, and Gwen and MJ continuing their tit-for-tat sniping at each other. All in all, great stuff!
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Post by jester on Oct 3, 2024 9:17:19 GMT -5
I don't have any source where Lee or Romita confirm they intended Kingpin to have superhuman strength, but Stan does script Peter as describing the Kingpin as having "super strength" in #83. But based on the feats of strength they have him display, I think it's a reasonable assumption. He totals a car in one issue with a single punch that was intended for Spider-Man, he rips out prison bars, and is consistently seen smashing and breaking stuff with ease that would require a great deal of exertion or be straight up impossible from an ordinary person (see the panels scanned on this page of him scrunching up a steel chair or levelling heavy lab equipment). So based on all that, I really don't think him being a physical challenge for Spider-Man is that hard to accept, for me personally anyway, because his strength is consistently shown to exceed any kind of "ordinary person" level. And while it's true that Spidey could be physically challenged by regular people he shouldn't have had trouble with for the purposes of the story, Lee and Romita never showed characters like the Chameleon or the Shocker casually displaying great feats of strength outside of their fights with Spider-Man, which they routinely did with the Kingpin. Maybe if they'd ever gotten around to giving him an official origin, they would have explained why he was so strong.
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Post by jtrw2024 on Oct 5, 2024 4:27:02 GMT -5
THE AMAZING SPIDER-MAN 62 “Make Way For… Medusa!” Credits (as they appear in the comic): Smilin’ Stan Lee and Jazzy John Romita Delineated by Don Heck Inking Mighty Mickey Demeo* Lettering Swingin’ Sammy Rosen *(Mike Esposito is credited as Mickey Demeo) Plot Synopsis: Spider-man goes up against Medusa, the mysterious Inhuman with living hair! Comments: Once again, Spider-man is swinging across town, minding his own business when he is attacked. This time though, it’s not a super-villain out for revenge or something like that. It’s just Medusa, flying by on her mono-cruiser, and Spidey just happens to get in her way. The Marvel Universe had been around for a few years by this time, and there were already so many super-characters running around New York City, that you would think stuff like this would happen more often. Medusa doesn’t have time to concern herself with Spider-man as she has been sent on an important mission by Black Bolt to determine whether it is the right time for the Inhumans to join the human-race. After performing a good deed and gaining the trust of a group of onlookers on the street, Medusa garners the attention of Montgomery G. Bliss who thinks she would be perfect to advertise his line of hair-products. Peter has more important things on his mind of course, and it involves another female with stunning hair. Gwen still hasn’t been able to understand Peter’s reasons for seemingly attacking her father in the previous storyline, and neither Pete, nor Captain Stacy have any way to explain things. Meanwhile, J. Jonah Jameson is at his club, with Norman Osborn, who is dealing with his own troubles trying to deal with the mysterious images which continue to torment him. There actually isn’t a lot of the usual soap-opera drama in this issue, as the Medusa plot takes up most of the story. Though initially curious and interested in Montgomery G. Bliss’ offer, Medusa soon grows dissatisfied and storms out. Hoping to generate even greater publicity out of the fiasco, Bliss tricks Spider-man into going after the Inhuman. Medusa’s living hair is a unique super-power which provides the opportunity for some interesting visuals when she and Spider-man fight. John Romita does just the layouts for this issue, as he has done for several others, so I assume the action and fight choreography is due to his brilliant skills, but Don Heck and Mike Esposito do a good job giving the finished drawings that nice clean look. I’m not sure if there was a specific reason for featuring Medusa, other than giving Spider-man someone to fight this issue. Ka-zar was another character who had appeared in other titles, but did not have one of his own. Maybe the intention was to give characters like this some exposure to see if there was some interest in seeing more of them. Medusa would eventually get a one-shot which appeared in Marvel Super-heroes, and would join her fellow Inhumans for their own feature in Amazing Adventures. When you have John Romita on art, sometimes that’s reason enough to have a gorgeous female opponent! In the end Medusa and Spider-man get things straightened. A few choice words from Spider-man to some reporters on the scene cause Montgomery G. Bliss’ plan to backfire on him, resulting in him being fired from his position and replaced by his assistant Wilberforce. On his way home, Peter, still upset about his problems with Gwen, runs into Mary Jane. It was only a couple issues ago that Peter admitted to himself how serious he was about Gwen, and now even Mary Jane can see it. That’s such a powerful final panel to an otherwise light-hearted story! Notes about the Reprints: This story was reprinted in Marvel Tales 45, and Spider-man Comics Magazine 4. Both reprints correct Mike Esposito’s credit Marvel Tales 45 uses the same cover image of Spider-man and Medusa (with alterations to her hand), but also adds some background elements, showing a crowd of people on the street as well the mono-cruiser. I’m thinking these were probably taken from existing art, possibly from this issue itself, but couldn’t identify exactly where they’re from. The cover text is also changed from “The Name of the Dame is… Medusa!” to just “Her Name is… Medusa!”. I like the background, but not the change to her hand. Spider-man Comics Magazine 4 uses the original image for the back cover. Personal anecdotes: This was one of those issues that I wasn’t familiar with, since I wasn’t collecting Spider-man Comics Magazine yet, and never bought the Marvel Tales reprint. I knew Medusa was in it, just from the blurb at the end of the previous issue, but that was it. I eventually read it for the first time in black-and-white when it was reprinted for the Essential Spider-man. I bought the Marvel Tales issue and read it just recently for this review
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Post by Cei-U! on Oct 5, 2024 7:38:28 GMT -5
ASM #62 was my first exposure to Romita-era Spidey and the first issue I'd read since #26 so I've always viewed it through a thick layer of personal nostalgia. Incidentally, Medusa's appearance here was intended to draw atention to her solo story in Marvel Super-Heroes #15. The two books were released on the same day (April 16, 1968).
Cei-U! I summon the one-wo punch!
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Post by jtrw2024 on Oct 5, 2024 8:02:07 GMT -5
ASM #62 was my first exposure to Romita-era Spidey and the first issue I'd read since #26 so I've always viewed it through a thick layer of personal nostalgia. Incidentally, Medusa's appearance here was intended to draw atention to her solo story in Marvel Super-Heroes #15. The two books were released on the same day (April 16, 1968). Cei-U! I summon the one-wo punch! I knew about Medusa's appearance in Marvel Super-heroes, but I didn't realize it was released at the same time (even though I've read both comics and the month is right there on the covers for me to see). That was a good bit of co-ordinated cross-promotion there
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Post by tarkintino on Oct 5, 2024 10:47:46 GMT -5
THE AMAZING SPIDER-MAN 62 “Make Way For… Medusa!” Yet another legendary cover. Arguably, this was the best representation of the character--her most iconic use on a cover. Interesting point; for anyone to make that observation at a still early period of Marvel's Silver Age means the overpopulation problem was an issue (by not having more random run-ins, not team-ups) that would never be resolved in superhero comics. Well, DC would provide a brilliant, welcome answer in the 1980s, but that's a topic for another thread... I do love Lee and Romita's steady building of the troubled saga of Norman Osborn, making it that dangerous element always smouldering in the background, yet never distracting from the power of / interest in the main story. Some would say that's writing 101, but too many superhero titles never had the patience to allow such a major villain to slowly build his life in the background for so long without resisting the urge to have him bust out 5 minutes (or a few issues) after his previous defeat. I disagree; Heck is one of the few artists who had the ability to screw up even the layouts of Romita, when his work (Romita's) was on such a level that anyone should have been able to succeed with it, yet Heck brought his anatomically rough interpretation to the job, leaving a less than impressive end-product with the exception of some character faces that he was likely instructed not to alter from the Romita model standard. Agreed. For as much praise Silver Age marvel received for its depiction of more realistic relationships, none of the other Marvel titles held a candle to the naturalistic writing of TASM's characters, which is why it was one of the few titles where the personal lives of its players was just as interesting as the costumed side.
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Post by jtrw2024 on Oct 6, 2024 9:17:24 GMT -5
THE SPECTACULAR SPIDER-MAN 1 1 - “Lo, This Monster!” Credits (as they appear in the comic): Produced with Phantasmagoric Pride by Stan Lee and John Romita Exotically Embellished by Jim Mooney Luxuriously Lettered by Sam Rosen Irreverently Ignore by Those of Little Faith! Plot Synopsis: A huge-monstrous killer is out to get a popular mayoral candidate, and only Spider-man can stop him! Comments: The Spectacular Spider-man is different from all those other Spidey comics that came before. This isn’t a comic book, but actually a comic-magazine, a little bit bigger than a regular comic, and with more pages. This first issue is in black-and-white, and features a great cover, painted by Harry Rosenbaum, based on a drawing by John Romita! John Romita’s art looks really good in black and white, especially with the subtle shading techniques. The story doesn’t really fit in exactly with the continuity established by The Amazing Spider-man comic, but it’s close enough, and seems like it was intended to be an accessible adventure, introducing the characters to a new audience. The story and themes aren’t necessarily any more mature than what was being done in the regular Spider-man comic, but it does deal with politics, a subject that hadn’t really been touched on before in Spidey’s earlier adventures. As the story begins, Spider-man is watching some painters put up a large sign for New York mayoral candidate Richard Raleigh, when suddenly a huge Man-Monster strikes from nowhere tearing up the sign and anyone that stands in the way. A brief battle ends with the Man-Monster escaping, and Spidey low on webbing, and without any news photos to show for his troubles. In a few short pages, this magazine story manages to present some typical scenes that long time readers might already be familiar with. Considering this was the first issue of a new series, possibly attracting a new type of readership, this type of introduction serves a particular purpose, while also kicking off Spidey’s latest adventure. Additional exposition provided by Peter Parker himself brings readers up-to-date as he changes from his Spider-man costume, just in time to meet his friends Harry Osborn and Mary Jane Watson. Richard Raleigh is good-looking, charming and so in touch with the city’s younger voters that he’s even managed to get Mary Jane interested. A trip to the Daily Bugle features introductions to some more of the usual cast of characters, J. Jonah Jameson, Joe “Robbie” Robertson and Betty Brant who all gather to watch a TV broadcast from Richard Raleigh. The popular mayoral candidate uses the earlier attack on one of his signs to drum up some more publicity for his campaign. Once the cameras are off though, Raleigh shows a different side of his character than what he presents to his constituents. Behind the benevolent façade he shows to the city, Raleigh is a megalomaniac with delusions of grandeur. . Spider-man doesn’t have time to worry too much about Richard Raleigh, or the Man-Monster that’s out to get him, as he makes his way across town to the home of Gwen Stacy before taking her to Raleigh’s big event. Peter and Gwen’s relationship was going through a bit of dramatic turmoil in the regular Amazing Spider-man comics, but this issue has them acting like their usual selves, probably for the benefit of any new readers. Peter and Gwen do reconcile their differences in the regular series, but MJ’s change in hairstyle around that time, make it difficult to place this story later in the chronology, so we just have to deal with it. Captain Stacy is also acting like his usual self, in better condition than he was when last we saw him in the regular series. Even though Stacy is retired from the police force, old habits die hard, and he can’t help being suspicious about Raleigh. J. Jonah Jameson knows a hero when he sees one, and is also in attendance at Raleigh’s event to voice his support for the prospective mayor. Peter is there with Gwen, while MJ is at the event to show her support for her new favourite politician. Harry probably has better things to do. While on the dance floor with Gwen, Peter’s spider-sense warns him of danger from above. Seeing that the dance-hall’s ceiling is getting ready to collapse, Peter manages to turn off the lights, and manages to secure the structure with his webbing, all while hiding his identity from the crowds below. A phone call between Raleigh and some associate, reveals that the collapsing ceiling was a ploy to make it appear that the underworld is out to get him due to his campaign’s stance on law and order. Though his plan failed, Richard Raleigh has another one ready to go. Raleigh’s townhouse comes equipped with a secret laboratory in the basement, with its own mad-scientist in residence. The Man-Monster which Spider-man battled earlier, was actually created to serve Raleigh, and to help him further his mad ambitions. Raleigh’s scientist Thaxton makes the final adjustments to the Monster, before the next stage in the scheme begins. While Peter tries to make it through the school day without letting Spider-man’s troubles distract him, Captain Stacy and J. Jonah Jameson meet at the private club of which they are both members. Captain Stacy shares his concerns about Raleigh with Jameson, who, as stubborn as he is, refuses to change his opinion. Though unable to find any trace of the Man-Monster, Spider-man manages to stop yet another staged crime intended to boost Raleigh’s rating in the polls, Before dropping off his news photos to the Daily Bugle, Peter drops in to visit his favourite aunt. Just in case readers haven’t yet realized it, the story once again reminds us how popular Richard Raleigh is, as even Aunt May and Mrs. Watson are shown to be fans of his. Captain Stacy, however, has started gathering background material to corroborate his suspicions about Raleigh. Jameson shares this bit of information with Raleigh and inadvertently makes Stacy a target. Peter has his own suspicions about Raleigh and wants to discuss them with Captain Stacy, but the sight of Gwen in her latest trendy outfit proves more appealing. As safety should always be a concern, in this story Peter is shown wearing a helmet while riding his motorcycle, and also has one for Gwen when he picks her up. Interesting that the regular series usually has him riding without a helmet, though I think I've seen some scenes of him holding it in recent issues. The stories that came out around and after this definitely make a point to show Peter with the helmet when his bike is in the scene. No sooner do Peter and Gwen depart, than the Monster shows up to attack Captain Stacy. Peter tells Gwen to go call for help, while he goes in to action as Spider-man, to rescue her father. During the battle Spider-man deduces the Man-Monster’s connection to Richard Raleigh from its violent reaction to the sight of the campaign posters posted all over the city. The climax, features 14 pages of wall-to-wall action, and a well-choreographed chase scene from Captain Stacy’s home, to Richard Raleigh’s townhouse. Playing a hunch, Spidey leads the Man-Monster to Raleigh’s townhouse where, in a fit of mania, the mad mayoral candidate blurts out his entire scheme. The Man-Monster’s rage is so powerful that he manages to overcome Raleigh’s control. The Man-Monster’s rampage results in the death of Raleigh, and his scientist in residence. Spider-man finishes off the Man-Monster with good ol’fashioned spider-strength, just as police arrive at the scene. J. Jonah Jameson and Joe Robertson, arrive right behind them, discovering the aftermath. With no actual evidence of Raleigh’s crimes, and no witnesses to what just occurred, Jameson presumes that the beloved politician died a hero. This first story in this magazine was a fairly typical Spider-man adventure, which made use of all the supporting cast, and standard themes that regular readers of the character would be familiar with. The downbeat ending with Spider-man being persecuted, while a madman like Richard Raleigh (or even Jameson himself) is rewarded for his heroic deeds, is a classic recurring aspect of the series. 2 – “In the Beginning—“ Compusively Created and Relentlessly Retold by Our Grandiloquent Guru Stan “The Man” Lee Passionately Pencilled by Laughin’ Larry Lieber Exotically Embellished by Wild Bill Everett Lovingly Lettered by Adorable Artie Simek To complete the package, and make this mag a perfect introduction to the character the backup features a retelling of Spidey’s origin. Instead of a straight reprint of Spider-man’s origin from Amazing Fantasy 15 by Stan Lee and Steve Ditko, this is a new updated version written by Stan Lee, with art by Larry Lieber (pencils) and Bill Everett (inks). The story opens at Uncle Ben’s funeral, which is something that hadn’t really been shown in previous retellings. The origin is told through a series of flashbacks, and makes some changes to the classic story. A new scene has Peter discovering his spider-strength during a brief altercation with a couple of guys in the street. Sadly, the scenes of Peter at school before the spider-bite, and the confrontation with Crusher Hogan where he tests his powers, have both been omitted. Despite these changes, the overall essence of the story remains the same, with Peter learning that important lesson “With great power- - there must also always be - - great responsibility!” An advertisement at the end of the magazine uses repurposed art by Steve Ditko and John Romita and provides a teaser for the next issue of Spectacular Spider-man. Readers are also reminded to follow Spidey’s regular colour adventures in Amazing Spider-man every month. The Spectacular Spider-man magazine would only last for two issues, but, of course, a longer running regular monthly comic with a similar name would eventually be released to serve as a companion series to the Amazing Spider-man. A panel from “In the Beginning—“ would be used as the corner box image for Peter Parker the Spectacular Spider-man for its first few years. Peter Parker the Spectacular Spider-man’s sixtieth issue featured an even more updated version of Spidey’s origin, incorporating the new scenes from “In the Beginning—“, while adding some of its own and reconciling them with the original story from Amazing Fantasy 15 Notes about the Reprints: This magazine actually really hasn’t had any real reprints outside of collected editions like Marvel Masterworks, or the recent Epic Collections. Even the early editions of the Essential Spider-man didn’t include it, despite the fact that the black-and-white artwork of this story made it a perfect fit for that format. According to some online sources, I do see that it was eventually included in a later edition of the Essential Spider-man vol 3. Serves me right for buying the first editions and missing out on stuff like that! A facsimile style reprint was released by Marvel in 2002, likely to coincide with some other important Spider-man events going on that year. NOTE: The art and story were repurposed for Amazing Spider-man 116-118. In order to make the story fit in with the current continuity, there were significant changes to the art and dialogue. Due to these differences, I wouldn’t really consider this a reprint. No sense getting too far ahead of things in this post though, but I’ll get to those issues eventually (right after I review ASM 115, in fact), so I’ll save my actual comments and comparison til then. Adaptations in other media: The second season of the original Spider-man cartoon kicked-off with an adaptation of Spidey’s origin, titled, fittingly “The Origin of Spiderman” (no hyphen?). Although not a direct adaptation of the backup story from Spectacular Spider-man 1, it did use some of the new dialogue, and included the scene with Peter running into those two guys in the street. It’s actually a pretty decent adaptation of Spider-man’s origin, and one of the better episodes of the series. Personal anecdotes: I first learned about this comic from a text-piece that was included in Marvel Tales 137 which reprinted Amazing Fantasy 15. Knowing nothing about the story, I always assumed the whole issue was just a new retelling of Spider-man’s origin. I finally got to read it after Marvel released the facsimile edition in 2002.
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Post by Farrar on Oct 6, 2024 20:21:42 GMT -5
THE AMAZING SPIDER-MAN 62 ...I’m not sure if there was a specific reason for featuring Medusa, other than giving Spider-man someone to fight this issue. Ka-zar was another character who had appeared in other titles, but did not have one of his own. Maybe the intention was to give characters like this some exposure to see if there was some interest in seeing more of them. Medusa would eventually get a one-shot which appeared in Marvel Super-heroes... According to Mark Evanier's introduction in The Inhumans Masterworks volume 1, Martin Goodman wanted to launch an Inhumans series as part of his 1968 expansion (this was when the restriction on how many titles Marvel could publish had ended). In response to complaints that Marvel didn't have any female lead characters, Goodman and company decided that the Inhumans feature would concentrate on Medusa; and a Medusa-centric story was created. Then per Evanier things changed and the proposed 1968 Inhumans feature was shelved; so the Medusa story was instead used in Marvel Super-Heroes #15. The Inhumans had to wait until 1970 before receiving their own feature in the new split book Amazing Adventures. And as is probably well-known around here, a couple of years later the Black Widow would appear in an issue of ASM, as a prelude to her own feature in--yep, you guessed it: Amazing Adventures
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rich
Full Member
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Post by rich on Oct 7, 2024 4:39:35 GMT -5
Looking at the images here- I forgot how good Romita Snr was! Brilliant artist. A real shame he was painfully slow at drawing and found he had to forsake sleep to keep up with a monthly schedule. I can see why he chose the office job over a painful life toiling away, but imagine what he could have produced through the 70s and 80s!
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Post by tarkintino on Oct 7, 2024 6:18:15 GMT -5
but imagine what he could have produced through the 70s and 80s! In the 70s, Romita still alternated interiors on TASM with Gil Kane, had runs on Captain America, provided layouts (and inked or corrected innumerable artists) for a wealth of other Marvel comics and magazines in the 70s, painted covers for Marvel's TPB / HB books and launched the daily comic strip with Stan Lee. Then, there's his quote (posted a page ago):
Romita: "I wanted to keep my job. I was a 9 to 5 art director. I was also doing other things - covers, and designing toys and things like that."
So, he was one of the busiest artists of that period, as he was not limited to illustrating monthlies. Its the reason of all Marvel artists of the 70s, his work was--arguably--the most omnipresent.
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